Recently, I posted this article in which I was not shy about my opinions toward modern music and its current state of affairs. The title track has a haunting sing-song-y melody, and the sudden electric guitar solo on “Man Man” is mind-tearing. Whatever the story is, it yielded some fantastic tunes – particularly the first half of the album. This makes it sort of appropriate that the songs would be acoustic, almost as if they were afterthoughts quickly laid to tape, perhaps out of frustration or perhaps in the spirit of things. The fact that it was released so swiftly after so many 2012 releases makes me think the songs on Sleeper represent a sort of puttering out point of Segall’s dam-burst of inspiration that resulted in last year’s slew of awesome. It sure doesn’t take people long to pigeonhole you, does it? Granted, the album was aptly titled in that it was a very quiet release – there was hardly any promotion, and literally, it is Ty Segall’s softest album ever. I find it interesting that this Bay Area garage rocker received so much attention last year with his noise-rock albums Slaughterhouse, Hair and Twins, and this year when he releases the all-acoustic Sleeper, hardly a peep is made.
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